DOCSLIB.ORG

The Magic Flute Draw It out Draw a Picture Using the Same Characters from the Opera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Magic Flute Draw It out Draw a Picture Using the Same Characters from the Opera VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Teacher Resource Guide Table of ContentS The Cast ............................................ 1 The Story ............................................ 2-3 Behind the Story ............................... 4-5 Guide Contributors & Editors The Librettist ...................................... 5 Ben Jewell-Plocher The Composer .................................. 6-7 Director of Education Listening & Viewing ........................... 8-10 Jesse Martins Sing-Along ......................................... 11-12 Youth Opera Music Director World Timeline .................................. 13-14 Greg Trupiano The Enlightenment ............................. 15-16 Director of Artistic Administration The Freemasons ................................. 17-18 The Fairytale Connection ................... 19-21 George Hemcher Build Your Own Flute ......................... 22-24 Youth Opera & Music Administration Assistant Costume Design ............................... 25-26 Nick Saldivar What Is Opera? .................................. 27-29 Theater Teacher, Tuttle Elementary What To Expect .................................. 30 Opera Terms ..................................... 31 Opera Jobs ....................................... 32 Special thanks to the Post-Performance Activity .................. 33-35 Sarasota Opera House ....................... 36 following organizations Sarasota Opera .................................. 37 for the use of articles Sarasota Youth Opera ........................ 38 and content: School Programs ................................ 39 Michigan Opera Theatre Minnesota Opera Exploration in opera is made possible through the generous support of The The Three Ladies sopranos, mezzo-soprano Attendants to the Queen.. CATHERINE SWINDLE*, Cast NICOLE WOODWARD *, ANNIE CHESTER * Conductor .................................... JESSE MARTINS The Three Spirits sopranos + helpful guides ............................... ASHLEY LEWIS , Stage Director ............................. MARK FREIMAN GENEVIEVE DILAN+, MIA FREEMAN+ Scenic Designer .............................. TROY HOURIE Papageno (pah-pah-GEH-noh) baritone A bird-catcher .................... MATTHEW HANSCOM Costume Designer .......... HOWARD TSVI KAPLAN Papagena (pah-pah-GEH-nah) soprano Lighting Designer ............................ KEN YUNKER Papageno’s sweetheart ........... TATEV BAROYAN** Hair & Make-Up Designer ...... BRITTANY RAPPISE Monostatos (moh-NAH-stah-tos) tenor Overseer at the Temple, who lusts after Pamina Chorus Master ................... ROGER L. BINGAMAN ................................................... JOHN KUN PARK* Stage Manager ............................. SARAH PRINCE Chorus of Priests, Attendants, Acolytes, and Sarastro (zah-RAHS-troh) bass Servants ............. APPRENTICE & STUDIO ARTISTS Priest of the Sun ............................. BRIAN KONTES * Sarasota Opera Studio Artist Tamino (tah-MEE-noh) tenor ** Sarasota Opera Apprentice Artist a young prince ........................ ANDREW SURRENA + Sarasota Youth Opera Artist The Queen of the Night soprano powerful ruler of the realm of the moon and stars, mother of Pamina ............... ALEXANDRA BATSIOS Pamina (pah-MEE-nah) soprano the Queen’s daughter .............. HANNA BRAMMER Top Jesse Martins, Mark Freiman Middle Brian Kontes, Andrew Surrena, Alexandra Batsios, Hanna Brammer, Annie Chester Bottom, Catherine Swindle, Nicole Woodward, Matthew Hanscom, Tatev Baroyan , John Kun Park, 1 Running from a serpent, Tamino The (tah-MEE-noh) faints as it nears him. Three veiled Ladies kill the Act I STory creature and then admire the young man. Reviving, Tamino meets Pagageno (pah-pah-GEH-noh), a bird catcher who claims to have killed the monster. On their return, the Three Ladies punish Pagageno for lying and give Tamino a portrait of the Queen’s daughter, Pamina (pah-MEE-nah). He instantly falls in love with her. The Queen of the Night appears and asks the prince to save Pamina from Sarastro (zah-RAHS-troh), who abducted her. To protect them on this quest the Ladies present Tamino with a magic flute and Papageno with magic bells. Additionally, Three Spirits will accompany them. Sarasotro’s slave, Monostatos (moh-NAH-stah-tos), captures Pamina who has escaped from his master’s palace but is frightened away by seeing Papageno. Overjoyed to hear that her mother has sent help, Pamina waits for Tamino to set her free. The Spirits lead Tamino to three temples where voices urge him to turn back. From the third temple the Speaker emerges. He tells Tamino that the Queen of the Night has deceived him and that the prince will only learn the truth when he becomes a member of the brotherhood. Papageno and Pamina search for Tamino. When Monostatos and other slaves try to stop them Papageno enchants them with his magical bells. Sarastro and his court arrive, and Pamina confesses that she tried to escape. Monostatos leads in Tamino, and the Prince and Pamina embrace. Sarastro orders Tamino and Papageno to undergo the trials of the temple. Sarastro asks his priests to extend their brotherhood to Tamino in the hope that Tamino will defend the temple from the Queen of the Night. Act II Two priests prepare Tamino and Papageno for the trial of silence. The Three Ladies try unsuccessfully to convince the pair to return to their mission for the Queen. The Queen of the Night appears and gives Pamina a dagger, commanding her to kill Sarastro. After overhearing this plot, Monostatos once again tries to force himself on Pamina. However, Sarastro rescues her. Angrily Monostatos throws his support to the Queen. Sarastro explains to Pamina that in his realm all are bound by love. Tamino and Pagageno, under a vow of silence, continue their trials. The bird catcher meets an old woman who introduces herself as his future wife, then disappears. When Pamina finds Tamino, she is saddened because he refuses to speak to her (because of the trial of silence). 2 Papageno fails the trials due to his cowardice. Magically the old woman changes into a young girl, Papagena (pah-pah-GEH-nah). A priest prevents Pagageno and Papagena from embracing and tells the bird catcher that he is unworthly of a wife. Pamina is determined to commit suicide because of Tamino’s silence, but the Three Spirits prevent her and take her to him. Reunited, Tamino and Pamina triumphantly undergo the trials of fire and water. Papageno, searching for Papagena, decides to hang himself when he cannot find her. However, advised by the three spirits, Papgeno uses his magic bells, Papagena appears and the two happily contemplate family life. The Queen of the Night, the Three Ladies, and Monostatos join forces to destroy the temple, but they are stopped. In triumph, Sarastro and his followers hail Tamino and Pamina. Understanding the plot and characters before attending a performance greatly Story enhances the experience. The activities below will help your students explore and prepare for their live opera experience. Activities Create a sequel Write a sequel to The Magic Flute Draw it out Draw a picture using the same characters from the opera. What from your favorite part of the happens after the finale? What new characters do plot and explain to the class why it is they encounter? important to the story. Readers theater Divide into groups and assign Create your own props Create props and/or each a part of the synopsis. Within each group costumes with basic materials (paper, tape, etc.) for designate characters and one narrator. Allow a specific character using clues from the synopsis. students time to practice their scene. Students will need to create their character's dialogue based on Facebook Character Exploration Have students the assigned synopsis sections. explore the characters through the creation of Facebook profiles. Using clues in the libretto and After they have prepared, the narrator for the group synopsis, develop profiles that address each will read their section as the other students act out character’s interests, education, work, philosophy, the story. Groups will perform their part following arts, sports, likes, etc. Also include status updates the sequential order of the opera. that match the storyline and events in the opera. For an animated plot summary, visit https://www.youtube.com/watch?v=-laVXO0IYKY 3 BEHIND Mozart’s old friend, the impresario, actor, and writer Emanuel Schikaneder, commissioned the Austrian composer to create a new Singspiel (play with music) in the The spring of 1791. Mozart was happy to have the opportunity to write another Singspiel since the last full-length one he had composed, The Abduction from the Seraglio, was STory a phenomenal success performed all over Germany. Schikaneder was the librettist for the new Singspiel, and he developed its story from several operas, novels, and fairy tales popular at the time. Most important to the creation of the new Singspiel was the fact that SINGSPIEL (ZING-SHPEEL) both composer and librettist were Freemasons. An international secret Translated, singspiel literally fraternity, the Free and Accepted Masons where known for their liberal means “sing-play” or “play views and feared by autocratic monarchs. Schikaneder and Mozart with singing.” chose to create a Singspiel that was filled with Masonic philosophy and ritual. For example, in the middle of The Magic Flute overture, the music The earliest singspiels were stops and, after a pause, three chords are heard three times. This plays that had popular songs
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
    HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer.
    [Show full text]
  • American Spiritual Program Spring 2009
    American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall
    [Show full text]
  • Der Stein Der Weisen and Die Zauberflöte
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 12 | Issue 1 Article 3 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Mercer Greenwald Bard College Conservatory of Music Recommended Citation Greenwald, Mercer. “Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zaouberflöte.” Nota Bene: Canadian Undergraduate Journal of Musicology Vol. 12, no. 1 (2019): 30-45. https://doi.org/10.5206/notabene.v12i1.8145 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Abstract This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder: Der Stein der Weisen oder Die Zauberinsel (1790) and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflöte in plot and in music. Then I will show how the later opera diverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflöte facilitates its audience’s access to Enlightenment values by magical means.
    [Show full text]
  • Interstellar Music - by Mike Overly
    Interstellar Music - by Mike Overly Let's imagine that you could toss a message in a bottle faster than a speeding bullet into the cosmic ocean of outer space. What would you seal inside it for anyone, or anything, to open some day in the distant future, in a galaxy far, far away from our solar system? Well, imagine no more because it's been done! Thirty-five years ago, NASA launched two Voyager spacecraft carrying earthly images and sounds toward the Stars. Voyager 1 was launched on September 5, 1977, from Cape Canaveral, Florida and Voyager 2 was sent on its way August 20 of that same year. Voyager 1 is now 11 billion miles away from earth and is the most distant of all human-made objects. Everyday, it flies another million miles farther. In fact, Voyager 1 and 2 are so far out in space that their radio signals, traveling at the speed of light, take 16 hours to reach Earth. These radio signals are captured daily by the big dish antennas of the Deep Space Network and arrive at a strength of less than one femtowatt, a millionth of a billionth of a watt. Wow! Both Voyagers are headed towards the outer boundary of the solar system, known as the heliopause. This is the region where the Sun's influence wanes and interstellar space waxes. Also, the heliopause is where the million-mile-per-hour solar winds slow down to about 250,000 miles per hour. The Voyagers have reached these solar winds, also known as termination shock, and should cross the heliopause in another 10 to 20 years.
    [Show full text]
  • What's a Christian to Do with the Magic Flute? Mysticism, Misogyny
    What’s a Christian To Do With The Magic Flute? Masons, Mysticism, and Misogyny in Mozart’s Last Opera The libretto of Die Zauberflöte has generally been considered to be one of the most absurd specimens of that form of literature in which absurdity is regarded as a matter of course. - Edward J. Dent, 1913 It is in its infinite richness and variety, its inexhaustible capacity for the provision of new experience that the unique greatness of The Magic Flute lies as a work of art. - Patrick Cairns (“Spike”) Hughes, 1958 Introduction Perhaps no other opera has launched as much controversy, argument, or bewilderment as The Magic Flute. For the more than 200 years since its creation, scholars, musicologists, poets, psychologists, and critics, to name only a few, have pondered over and pontificated upon the intentions of its creators, Wolfgang Amadeus Mozart and his collaborator, Emanuel Schikaneder. This paper is presented as a very limited response to some of the questions that have historically been raised concerning the content of the opera’s libretto. The title of this presentation has been unceremoniously lifted from Connie Neal’s excellent book, What’s a Christian To Do With Harry Potter? (2001), which was written in response to the concerns of conservative Christian parents when confronted with the phenomenal success of the Harry Potter novels. In defense of Harry (and author J. K. Rowling), Neal chose passages from the books and discussed their positive, life-affirming content, outlining spiritual lessons that could be extracted from these segments. Although Mozart’s work needs no apology, some explanation of certain passages may provide enlightenment, or even edification.
    [Show full text]
  • WOLFGANG AMADEUS MOZART Works for the Stage
    New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 8: LA FINTA GIARDINIERA [The Pretended Garden-Girl] SUB-VOLUME 1: ACT I PRESENTED BY RUDOLPH ANGERMÜLLER AND DIETRICH BERKE 1978 International Mozart Foundation, Online Publications V New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications VI New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…….. …………….……………………………………………… VIII Facsimile: A page from the currently inaccessible autograph…………………………..
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • Ernesto Ramirez
    ERNESTO RAMIREZ Tenor OPERA REPERTOIRE DATE ROLE (OPERA) COMPOSER COMPANY 2020 Bound Handel/Lau Against the Grain Theatre 2019 Duke (Rigoletto)* Verdi Edmonton Opera Don Jose (Carmen) Bizet Kitchener‐ Waterloo Symphony† 2018 Don Jose (Carmen) Bizet Opera Kelowna Rodolfo (La boheme) Puccini Pacific Northwest Opera, WA 2017 Stefano (Filumena) Estacio/Murrell Calgary Opera 2016 Almaviva (Il barbiere di Siviglia) Rossini Saskatoon Opera Pinkerton (Madama Butterfly) Puccini Opera de León, Mexico 2015 Ottavio (Don Giovanni) Mozart Opera de Bellas Artes, Mexico Edgardo (Lucia di Lammermoor) Donizetti Pacific Opera Victoria 2014 Bénédict (Béatrice et Bénédict) Berlioz Minería Symphony, Mexico Roberto (Roberto Devereux) Donizetti Canadian Opera Company Stiffelio (Stiffelio) Verdi Opera in Concert Tamino (Die Zauberflöte) Mozart Opera de Bellas Artes, Mexico 2013 Don Ramiro (Cenerentola) Rossini Teatro Bicentenario, Mexico Nadir (Pearl Fishers) Bizet Opera Hamilton 2012 Leicester (Maria Stuarda) Donizetti Pacific Opera Victoria Nemorino (L’elisir d’amore) Donizetti Opera Folies Lyriques, France Ruiz (Il Trovatore) Verdi Canadian Opera Company Alfred (Die Fledermaus) Strauss Canadian Opera Company* Rinaldo (Armida) Rossini Opera In Concert, Toronto 2011 Nemorino (L’elisir d’amore) Donizetti Opéra de Angers‐Nantes, France 2010 Don Ramiro (Cenerentola) Rossini Wildbad Rossini Festival, Germany Arturo (I Puritani) Bellini Opera in Concert, Toronto 2009 Alfredo (La Traviata) Verdi Sarasota Opera Nemorino (L’elisir d’amore) Donizetti Sarasota Opera Turridu (Cavalleria Rusticana) Mascagni Il Canto Opera Association, Montreal† 2008 Decio (La Vestale) Mercadante Opera in Concert, Toronto Tamino (Die Zauberflöte) Mozart Boston Opera Institute* Almaviva (Il barbiere di Siviglia) Rossini Boston Opera Institute 2007 Rodolfo (La bohème) Puccini Boston Opera Institute Orfeo (Hostage) Hedricks Boston Opera Institute Mr.
    [Show full text]
  • Idomeneo​ Synopsis
    Idomeneo Synopsis ​ Background Helen, the beautiful wife of King Menelaus of Greece, was carried off by Paris, son of King Priam of Troy, triggering the Trojan War. Agamemnon, Menelaus's brother, rallied the other Greek kings and joined forces to lay siege to the city of Troy. One of Agamemnon's allies was King Idomeneo of Crete, whose army helped to deliver a victory over the Trojans. After ten long years of war, Idomeneo is finally on his way home. Some of his forces have already returned, bringing back Trojan captives including Priam's daughter, Princess Ilia. The ship carrying Ilia was hit by a storm and sank, but she was rescued from the waves by Idomeneo's son, Idamante. Upon his own return from war, Agamemnon was murdered by his wife, Clytemnestra, and her lover, Aegisthus; Elettra's brother, Orestes, took revenge on the unfaithful by killing them both. Elettra fled from their home in Argos, and is now taking refuge in Crete. ACT I Island of Crete, c. 1200 B.C. At the palace, Ilia is grieving for her father and ​ brothers who were killed by the Greek army in the siege on Troy. But while she hates Idomeneo, she has fallen in love with his son, Idamante, who has ruled Crete in his father's absence ("Padre, germani, addio!"-Father, brothers, farewell!). Although Idamante proclaims his love for her, Ilia, cannot bring herself to admit her feelings for him ("Non ho colpa"-I am not guilty). As a gesture of goodwill, Idamante releases the Trojan captives; they join the Cretans in rejoicing this newfound peace ("Godiam la pace"-Let us enjoy peace).
    [Show full text]
  • Mozart's Operas, Musical Plays & Dramatic Cantatas
    Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.
    [Show full text]
  • Leopold and Wolfgang Mozart's View of the World
    Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
    [Show full text]